presents Handel Society of Dartmouth College Robert Duff, conductor Morten Lauridsen Lux Aeterna as completed by Robert Levin with special guests Colleen Daly, soprano Emily Marvosh, mezzo-soprano Charles Blandy, tenor Justin Hopkins, bass-baritone Lebanon High School Chorus Jonathan Verge, conductor Stevens High School Chorus Katja Kleyensteuber, conductor Woodstock Union High School Chorus Lisa Robar, conductor and orchestra

Funded in part by the Glick Family Student Ensemble Fund, the Gordon Russell 1955 Fund, Friends of the Handel Society, the Choral Arts Foundation of the Upper Valley, and the Jack and Dorothy Byrne Foundation.

Tue • November 14, 2017 • 7 pm Spaulding Auditorium • Dartmouth College Program

Lux Aeterna Morten Lauridsen (b. 1943)

1. Introitus 2. In Te, Domine, Speravi 3. O Nata Lux 4. Veni, Sancte Spiritus 5. Agnus Dei – Lux Aeterna

Intermission

Requiem in D minor, KV626 Wolfgang Amadeus Mozart (1756-1791) Completed by Robert D. Levin (b. 1947)

Introitus 1. Requiem aeternam (choir and soprano solo) 2. Kyrie

Sequenz 3. Dies irae 4. Tuba mirum (solo quartet) 5. Rex tremendae 6. Recordare (solo quartet) 7. Confutatis 8. Lacrimosa – Amen

Offertorium 9. Domine Jesu (choir and solo quartet) 10. Hostias

Sanctus 11. Sanctus 12. Benedictus (choir and solo quartet)

Agnus Dei 13. Agnus Dei

Communio 14. Lux aeterna – Cum sanctis tuis (soprano solo and choir)

—

Tonight’s performance is dedicated to Charles Faulkner in celebration of his thirty-three years of singing with the Handel Society.

Through a generous grant from the Jack and Dorothy Byrne Foundation, Morten Lauridsen’s Lux Aeterna will include forty-five singers from area high schools. We thank the Byrne Foundation, and each schools’ music teachers, administrators and parents for supporting these young students in their pursuit of music. Program Notes

WOLFGANG AMADÈ MOZART memory of his wife Anna, who had died prematurely Requiem in D minor, K.626 in February, and to pass it off as his own composition. (completed by Robert Levin) Mozart seems to have composed the Requiem in Joannes Chrisostomus Wolfgang Gottlieb Mozart, three stages interrupted by other responsibilities. who began to call himself Wolfgango Amadeo He started in the mid summer period before going about 1770 and Wolfgang Amadè in 1777, was born to Prague late in August to attend the premiere of La in Salzburg, Austria, on January 27, 1756, and died in clemenza di Tito, which he had written at breakneck Vienna on December 5, 1791. It is traditionally said speed. Then, after returning to Vienna in mid that the first performance of the Requiem was given September and completing The Magic Flute on the in the new monastery church at Wiener Neustadt on 25th and the Clarinet Concerto the following day, he December 14, 1793, billed as a composition by Franz, worked on the Requiem until mid October, when his Count Walsegg-Stuppach, who had commissioned wife Constanze took the score away from him it anonymously with the intention of passing it off as because she feared it would damage his now his own, for use on the occasion of a solemn Mass in precarious health. memory of his wife. Yet Mozart’s old friend Baron van Swieten performed a Requiem—presumably Mozart began to be obsessed with the notion that Mozart’s own—at a concert given eleven months he was writing the work in preparation for his own earlier as a benefit to support the composer’s widow death, and he even raved that he had poisoned and two surviving children. Mozart’s instrumentation himself. This is the basis from which the legend that is most unusual, though it fits the expressive needs his “rival” Salieri had in fact poisoned him was made. of a Requiem: he omits all the brighter woodwind Mozart’s fatal illness seems to have been rheumatic instrument—flutes and oboes—and replaces the fever, which he had suffered in childhood and several clarinet with its darker relative, the basset horn. He times in his adult years. Eighteenth-century medicine also omits horns from the brass section. The was not yet aware of the connection between resulting ensemble consists of solo vocal quartet rheumatic fever and severe cardiac problems. (soprano, alto, tenor, and bass), mixed chorus, and an orchestra of basset horns, bassoons, high A more lucid spell in November allowed him to work trumpets in pairs, three trombones, strings, and on the Requiem and even to make one final public organ (as continuo instrument). appearance to direct the performance of his Little Masonic Cantata on November 18. Two days later he Sometime early in the summer of 1791, Mozart took to the bed that he never left. Mozart is received a mysterious visitor, a “gray messenger,” supposed to have discussed his plans and sketches who offered him 50 ducats as the first half of a for the Requiem with his pupil Franz Xaver Süssmayer, commissioning fee for the composition of a who had recently assisted him in finishing La Requiem. Mozart accepted because he badly clemenza di Tito by composing all the recitatives, needed the money, but the oddity of the incident and presumably also with Joseph Eybler. and his own depression and ill health conspired to make him unduly morbid. At times, he took the On December 3, he felt a little better, but the strange messenger to be an emissary of Death. following day he took a serious turn for the worst. Actually, the messenger was an agent for one Count The still youthful composer died an hour after Walsegg-Stuppach, who demanded secrecy midnight, early on December 5, eight weeks short of because he intended to perform the Requiem in his thirty sixth birthday. Program Notes continued

Constanze’s first concern was that the torso of the The remaining movements—Sanctus, Benedictus, Requiem be brought to completion; she needed the Agnus Dei, Communio (Lux aeterna)—seem to be remainder of the commissioning fee and feared Süssmayer’s work, though they are close enough to that, if the work was not completed, she would have Mozart’s style to make credible his assertion that he to return the portion already spent. Mozart had was working with notes from the master. By the time completed only the opening Introit in full score, with the Requiem was finally published as Mozart’s in the complete orchestration, but he had substantially 1800, rumors had long circulated about the completed the Kyrie. He had, with one exception, complicity of other composers in its completion. At completed the long Sequence (the Dies irae, etc.) the request of the publishers, Breitkopf & Härtel, and the Offertory. These drafts consisted of his Süssmayer described his role, explaining that normal full sketch: the completed choral part, the everything from the verse “judicandus homo reus” orchestral bass line, and a few essential indications (the third line of the Lacrimosa) was his own, though for the remainder of the orchestration. The final it had been his idea to repeat Mozart’s Kyrie fugue in section of the Sequence, the Lacrimosa, was still just the closing Communion “to give the work greater a fragment; Mozart had composed the vocal parts uniformity.” Whether or not this decision grew out of for the first eight measures—as far as the powerful conversations with Mozart regarding the overall crescendo on a rising chromatic line in the soprano— design of his score, it was, in any case, a normal and then, as if the effort was too much for him, the procedure in Viennese Mass compositions of broke off the manuscript entirely. the day.

Constanze sought another composer who would be We shall probably never know to what degree willing to finish the Requiem and pass the whole off Süssmayer made use of Mozart’s sketches for later as Mozart’s for the purpose of fulfilling the movements. Most sketches that may have existed commission. She first approached Joseph Eybler, seem to have been destroyed by Constanze in order who began work with devotion and insight. He first to maintain the fiction that her husband actually completed the orchestration of the finished completed the Requiem himself. passages of the Dies irae movements, entering the added instrumental parts directly into Mozart’s It is clear that Süssmayer was not Constanze’s first or manuscript. But when it came to composing original even her second choice to finish her husband’s material from the point where Mozart dropped the score, so not much stock should be given to his work, he wrote out two measures of a soprano line in claims that he had special information that was not the Lacrimosa and decided to give up the attempt. available to other musicians in the Mozart circle. Still Constanze evidently asked several other composers it was Süssmayer’s pious labors on behalf of his to undertake the work but was forced to settle, in “unforgettable teacher” that have made it possible the end, on Süssmayer. for us to hear performances of Mozart’s last musical conception. Süssmayer recopied the entire completed part of the manuscript, wrote his own orchestration for the However much we may wish that Mozart had lived to Dies Irae movements, and completed the rest of the complete the entire Requiem, we can be grateful for Requiem, possibly on the basis of sketches left by a performable version made possible through Mozart. Mozart discussed the piece incessantly in Süssmayer’s assiduous devotion. Still, many his last days. And Süssmayer may well have taken musicians over the years have noted infelicities in notes which have not survived. detail and elements that simply do not correspond Program Notes continued to Mozart’s style, and several editors have has taught for over thirty years. Raised in Portland, undertaken to produce an improved version of the Oregon, Lauridsen attended Whitman College and score. Among these, Robert Levin has studied every worked as a Forest Service firefighter before aspect of Mozart’s work—harmonic usage, traveling south to attend USC, where he studied instrumentation, proportions in the planning of composition with Ingolf Dahl, Halsey Stevens, whole movements—for decades. Yet despite the Robert Linn and Harold Owen. Lauridsen chaired sometimes-radical nature of his edition, it is also the composition department at USC Thorton School carefully conservative in retaining as much as of Music from 1990 to 2002 and founded the School’s possible of the familiar version. He has altered the Advanced Studies Program in Film Scoring. At USC Lacrimosa somewhat and takes it into a brief fugue he has received the Phi Kappa Phi Creative Writing (unlike Süssmayer’s two simple chords) for Amen. He Prize, the Thorton School Outstanding Alumnus has corrected what he refers to as “tonal Award, The Ramo Award, the Lambda Delta Citation discrepancies” in the Sanctus and has reshaped the for Teaching Excellence and the Dean’s Award for Hosanna fugue to follow the structural proportions Professional Achievement. In 2007, he won the of a genuine Mozart fugue as exemplified in his National Medal of Arts. C-minor Mass. He has somewhat revised the later part of the Benedictus and the return to the Hosanna Lux Aeterna was written for the Los Angeles Master fugue, edited out what seem to be Süssmayer’s Chorale—an ensemble for which Lauridsen held the oversights in the latter parts of the Agnus Dei and position of Composer-in-Residence from 1994 to adjusted the layout of the text in the fugue Cum 2001 The work was premiered in April 1997 by the sanctis tuis. chorale, in the version for chorus and chamber ensemble; two weeks later, a choral/organ version Compared to Mozart’s earlier Mass compositions, was premiered by the ensemble Choral Cross-Ties the Requiem is a work of somber and impressive of Portland, Oregon. Tonight’s performance is the beauty, darker in color. The great heights of power version for chamber ensemble. and drama, as in the first two lines of the Lacrimosa, probably the last notes he ever penned, combine Written in five movements, Lux Aeterna might with the commitment of immediate and urgent appear to be a substitute title for “Requiem”—after personal expression. all, lux aeterna is Latin for perpetual (eternal) light, and the opening movement is, indeed, a text from MORTEN LAURIDSEN the Catholic Requiem Mass: “requiem aeternam Lux Aeterna dona eis, Domine: et lux perpetua lucaet eis” (grant them eternal rest, O Lord, and let perpetual light Morten Lauridsen was born in 1943 in Colfax, shine upon them). But what connects the five Washington. The first performance of Lux Aeterna movements is not a liturgy; rather it is the reference was given at the Walt Disney Concert Hall on April in each to light, and one might view the collective 13, 1997, the year of the death of the composer’s movements as moving the listener from darkness mother. Lauridsen’s instrumentation includes flute, into light, from sorrow into healing. Nowhere will the oboe, horn, trombone and chamber string orchestra. listener find the bombastic death trumpets of Verdi or Mozart, nor the occasional but strong reminders Morten Lauridsen is Distinguished Professor of of the overwhelming power of Death in the Requiem Composition at the Thorton School of Music at the of Brahms. No, if you are looking for kinship between University of Southern California (USC), where he the requiem reference in Lauridsen and one of the Program Notes continued many famous predecessors who have written a The instrumental introduction to the Introitus softly requiem, your best bet is Gabriel Fauré. Fauré saw recalls fragments from two pieces especially close his most beautiful Requiem as being a source of to my heart (my settings of Rilke’s Contre Qui, Rose, healing, as reflecting on the peace of death, not the from Les Chansons des Roses, and O Magnum tragedy of death; of welcoming death as the step Mysterium) which recur throughout the work in towards eternal life. Indeed, Lauridsen’s Lux Aeterna various forms. Several new themes in the Introitus has been described as having “healing powers,” are then introduced by the chorus, including an and in sound, it is not dissimilar to that of Fauré, extended canon on “et lux perpetua.” In Te, Domine, though with more modern harmonic and rhythmic speravi contains, among other music elements, the language at the composer’s disposal. cantus firmus Herzliebster Jesu, from the Nurembuerg Songbook, 1677) and a lengthy The following excerpt was written by Lauridsen inverted canon one “fiat Misericordia.” O Nata Lux himself, and appears on the inside cover of the and Veni, Sancte Spiritus are paired songs, the published score (©1997, Southern Music Publishing former a central a cappella motet and the latter a Co., Inc.): spirited, jubilant canticle. A quiet setting of the Agnus Dei precedes the final Lux Aeterna, which Lux Aeterna…is in five movements, played without reprises the opening section of the Introitus and pause. Its texts are drawn from sacred Latin sources, concludes with a joyful Alleluia. each containing references to light. The piece opens Steve Ledbetter and closes with the beginning and ending of the Requiem Mass with the central three movements drawn respectively from the Te Deum (including a line from the Beatus Vir), O Nata Lux, and Veni, Sancte, Spiritus. Texts and Translations

Lux Aeterna Morten Lauridsen

I. Introitus Requiem aeternam dona eis, Domine: Rest eternal grant to them, O Lord, et lux perpetua luceat eis. and let perpetual light shine upon them. Te decet hymnus Deus in Zion, A hymn befits thee, 0 God in Zion, et tibi redetur votum in Jerusalem: and to thee a vow shall be fulfilled in Jerusalem: exaudi orationem meam, Hear my prayer, ad te omnis caro veniet. for unto thee all flesh shall come. Requiem aeternam dona eis, Domine: Rest eternal grant to them, O Lord, et lux perpetua luceat eis. and let perpetual light shine upon them.

II. In Te, Domine, Speravi Tu ad liberandum suscepturus hominem To deliver us, you became human, non horruisti Virginis uterum. and did not disdain the Virgin’s womb. Tu devicto mortis aculeo, Having blunted the sting of death, aperuisti credentibus regna coelorum. You opened the kingdom of heaven to all believers. Exortum est in tenebris lumen rectis. A light has risen in the darkness for the upright. Miserere nostri, Domine, Have mercy upon us, O Lord, miserere nostri. have mercy upon us. Fiat misericordia tua, Domine, super nos Let thy mercy be upon us, O Lord, quemadmodum speravimus in te. as we have trusted in thee. In te Domine, speravi: In thee, O Lord, I have trusted: non confundar in aeternum. let me never be confounded.

III. O Nata Lux O nata lux de lumine, O born light of light, Jesu redemptor saeculi, Jesus, redeemer of the world, dignare clemens supplicum mercifully deem worthy and accept laudes preces que sumere. the praises and prayers of your supplicants. Qui carne quondam contegi Thou who once deigned to be clothed in flesh dignatus es pro perditis. for the sake of the lost ones, Nos membra confer effici, grant us to be made members tui beati corporis. of your holy body.

IV. Veni, Sancte Spiritus Veni, Sancte Spiritus, Come, Holy Spirit, Et emitte coelitus Lucis tuae radium. Send forth from heaven the ray of thy light. Veni, pater pauperum, Come, Father of the poor, Veni, dator munerum, Come, giver of gifts, Veni, lumen cordium. Come, light of hearts. Texts and Translations continued

Consolator optime. Thou best of Consolers, Dulcis hospes animae, Sweet guest of the soul, Dulce refrigerium. Sweet refreshment. In labore requies, In labor, thou art rest, In aestu temperies, In heat, the tempering, In fletu solatium. In grief, the consolation.

O lux beatissima, O Light most blessed, Reple cordis intima Fill the inmost heart Tuorum fidelium. Of all thy faithful. Sine tuo numine, Without your grace, Nihil est in homine, There is nothing in us, Nihil est innoxium. Nothing that is not harmful.

Lava quod est sordidum, Cleanse what is sordid, Riga quod est aridum, Moisten what is arid, Sana quod est saucium. Heal what is hurt. Flecte quod est rigidum, Flex what is rigid, Fove quod est frigidum, Fire what is frigid, Rege quod est devium. Correct what goes astray.

Da tuis fidelibus, Grant to thy faithful, In te confidentibus, Those trusting in thee, Sacrum septenarium. Thy sacred seven-fold gifts. Da virtutis meritum, Grant the reward of virtue, Da salutis exitum, Grant the deliverance of salvation, Da perenne gaudium. Grant everlasting joy.

V. Agnus Dei – Lux Aeterna Agnus Dei, Lamb of God, qui tollis peccata mundi, who takes away the sins of the world, dona eis requiem. grant them rest.

Agnus Dei, Lamb of God, qui tollis peccata mundi, who takes away the sins of the world, dona eis requiem. grant them rest.

Agnus Dei, Lamb of God, qui tollis peccata mundi, who takes away the sins of the world, dona eis requiem sempiternam. grant them rest everlasting. Texts and Translations continued

Lux aeterna luceat eis, Domine: May light eternal shine upon them, O Lord, Cum sanctis tuis in aeternum: in the company of thy Saints for ever and ever; quia pius es. for thou art merciful.

Requiem, KV 626 W.A. Mozart Robert Levin

1. Requiem aeternam Requiem aeternam dona eis, Domine: Rest eternal grant to them, O Lord, et lux perpetua luceat eis. and let perpetual light shine upon them.

Te decet hymnus Deus in Zion, A hymn befits thee, O God in Zion, et tibi redetur votum in Jerusalem: and to thee a vow shall be fulfilled in Jerusalem: Exaudi orationem meam, Hear my prayer, ad te omnis caro veniet. for unto thee all flesh shall come.

2. Kyrie Kyrie, eleison. Lord, have mercy. Christe, eleison. Christ, have mercy. Kyrie, eleison. Lord, have mercy.

3. Dies irae Dies irae, dies illa, Day of wrath, that day Solvet saeclum in favilla: shall dissolve the world into embers, Teste David cum Sibylla. as David prophesied with the Sibyl.

Quantus tremor est futurus, How great the trembling will be, Quando judex est venturus, when the Judge shall come, Cuncta stricte discussurus! the rigorous investigator of all things!

4. Tuba Mirum Tuba mirum spargens sonum The trumpet, spreading its wondrous sound Per sepulchral regionum, through the tombs of every land, Coget omnes ante thronum. will summon all before the throne.

Mors stupebit, et natura, Death will be stunned, likewise nature, Cum resurget creatura, when all creation shall rise again Judicanti responsura. to answer the One judging.

Liber scriptus proferetur, A written book will be brought forth, in quo totum continetur, in which all shall be contained, Unde mundus judicetur. and from which the world shall be judged. Texts and Translations continued

Judex ergo cum sedebit, When the accursed are confounded, Quid-quid latet apparebit: consigned to the fierce flames: Nil inultum remanebit. call me to be with the blessed.

Quid sum miser tunc dicturus? I pray, suppliant and kneeling, Quem patronum rogaturus? my heart contrite as if it were ashes: Cum vix Justus sit securus. protect me in my final hour.

5. Rex tremendae Rex tremendae majestatis, King of terrifying majesty, Qui salvandos salvas gratis, who freely saves the saved: Salva me fons pietatis. Save me, fount of pity.

6. Recordare Recordare Jesu pie, Remember, merciful Jesus, Quod sum causa tuae viae, that I am the cause of your sojourn; Ne me perdas illa die. do not cast me out on that day.

Quarens me, sedisti lassus: Seeking me, you sat down weary; Redemisti crucem passus: having suffered on the Cross, you redeemed me. Tantus labor non sit cassus. May such great labor not be in vain.

Juste judes ultionis, Just Judge of vengeance, Donum fac remissionis, grant the gift of remission Ante diem rationis. before the day of reckoning.

Ingemisco, tanquam reus: I groan, like the one who is guilty; culpa rubet vultus meus: my face blushes with guilt. Supplicanti parce Deus. Spare thy supplicant, O God.

Qui Mariam absolvisti, You who absolved Mary Magdalene, Et latronum exaudisti, and heeded the thief, Mihi quoque spem dedisti. have also given hope to me.

Preces meae non sunt dignae: My prayers are not worthy, Sed tu bonus fac benigne, but Thou, good one, kindly grant Ne perenni cremer igne. that I not burn in the everlasting fires.

Inter oves locum praesta, Grant me a favored place among thy sheep, Et ab haedis me sequestra, and separate me from the goats, Statuens in parted extra. placing me at thy right hand. Texts and Translations continued

7. Confutatis Confutatis maledictis, When the accursed are confounded, Flammis acribus addictis, consigned to the fierce flames: Voca me cum benedictis. call me to be with the blessed.

Oro supplex et acclinis, I pray, suppliant and kneeling, Cor contritum quai cinis: my heart contrite as if it were ashes: Gere curam mei finis. protect me in my final hour.

8. Lacrimosa – Amen Lacrimosa dies illa, O How tearful that day, Qua resurget ex favilla, on which the guilty shall rise Judicandus homo reus. from the embers to be judged. Huic ergo parce Deus. Spare them then, O God.

Pie Jesus Domine, Merciful Lord Jesus, dona eis requiem. grant them rest. Amen. Amen.

9. Domine Jesu Domine Jesu Christe, Rex gloriae, Lord Jesus Christ, King of glory, libera animas defunctorum liberate the souls of all the departed de poenis inférni et de profundo lacu: from the pains of hell and from the deep pit: libera eas de ore leonis, Deliver them from the lion’s mouth; ne absorbeat eas tartarus, let not hell swallow them up, ne cadant in obscurum. let them not fall into darkness.

10. Hostias Hostias et preces tibi, Sacrifices and prayers of praise, Domini, laudis offerimus. O Lord, we offer to thee. Tu suscipe pro animabus illis, Receive them, Lord on behalf of those souls quarum hodie memoriam facimus: we remember this day: Fac eas, Domine, de morte transire ad vitam, Grant them, O Lord, passage from death unto life, Quam olim Abrahae promisisti, et semini ejus. which once you promised to Abraham and to his seed.

11. Sanctus Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Holy, Holy, Holy, Lord God of Hosts. Pleni sunt coeli et terra gloria tua. Heaven and earth are full of your glory. Hosanna in excelsis. Hosanna in the highest. Texts and Translations continued

12. Benedictus Blessed is he who comes Benedictus qui venit in the name of the Lord. in nomine Domini. Hosanna in the highest. Hosanna in excelsis.

13. Agnus Dei Lamb of God, Agnus Dei, who takes away the sins of the world, qui tollis peccata mundi, grant them rest. dona eis requiem. Lamb of God, Agnus Dei, who takes away the sins of the world, qui tollis peccata mundi, grant them rest. dona eis requiem. Lamb of God, Agnus Dei, who takes away the sins of the world, qui tollis peccata mundi, grant them rest everlasting. dona eis requiem sempiternam.

14. Lux aeterna May light eternal shine upon them, O Lord, Lux aeterna luceat eis, Domine: in the company of thy Saints for ever and ever; Cum sanctis tuis in aeternum: for thou art merciful. quia pius es. Rest eternal grant to them, O Lord, Requiem aeternam dona eis, Domine, and let perpetual light shine upon them, et lux perpetua luceat eis, with thy saints for ever. cum sanctis tuis in aeternum. About the Artists

Colleen Daly soprano, has been hailed as a Daly’s work as a concert and recital soloist has been “dramatically powerful” (The Washington Post) widely recognized in performing such works as young singer. In the 2016-2017 season, Daly Mozart, Brahms, Fauré, and Rutter Requiem Masses, appeared in Julian Wachner’s Rev.23 with the Mendelssohn’s Elijah, Beethoven’s Ninth Symphony, Friends of Madame White Snake in Boston; the title Händel’s Messiah, Haydn’s Creation, Lord Nelson role in Floyd’s Susannah with the Baltimore Concert Mass and Missa Solemnis, Poulenc’s Gloria, Mozart’s Opera; Martin’s In Terra Pax with the Grant Park Davide Penitente and Stravinsky’s Les Noces. She Festival; Dvorˇák’s Te Deum with the Washington has appeared with Opera Delaware, the Columbus Cathedral Choral Society; and Carmina Burana with Symphony, the Mid-Atlantic Symphony, the Master the Washington Chorus. In 2018, she joins the Chorale of Washington in her Kennedy Center Windsor Symphony as Countess Almaviva in a debut, Washington Concert Opera, the Washington concert version of Le nozze di Figaro, appears as the Chorus, the Cathedral Choral Society in her National soprano soloist in Mahler’s Symphony No. 2 with the Cathedral debut, the Post-Classical Ensemble, the Bozeman Symphony and makes her role debut as New Dominion Chorale, the Maryland Philharmonic Violetta in La traviata with Annapolis Opera. Orchestra, and the Handel Society of Dartmouth College. The 2015 season was marked by her Most recently, Daly made her international concert professional recital debut; she presented a program debut with the Calgary Philharmonic Orchestra as of art song inspired by works in the permanent Madeline in Philip Glass’ setting of The Fall of the collection at the Phillips Collection, and reprised a House of Usher; and returned to the Kennedy Center portion of her program at the Kennedy Center, Concert Hall as a soloist in the Washington Chorus’ which was streamed live worldwide. presentation of Ralph Vaughan Williams’ A Sea Symphony. She appeared with the Bozeman Emily Marvosh contralto, has been gaining Symphony in Verdi’s Requiem just before returning recognition for her “sterling voice” and “graceful to Calgary as a soloist in their presentation of allure” on the stages of Carnegie Hall, Jordan Hall, Mahler’s Symphony No. 8. Disney Hall, Lincoln Center, Prague’s Smetana Hall and Vienna’s Stefansdom. Following her solo debut Notable roles include Musetta in La Bohème with at Boston’s Symphony Hall in 2011, she has been a Annapolis Opera, Lyric Opera of Baltimore and Des frequent soloist with the Handel and Haydn Society Moines Metro Opera; Violetta in Opera Delaware’s under the direction of Harry Christophers. Other production of La traviata, which she also covered at recent solo appearances include the American Bach New York City Opera; Fiordiligi in Così fan tutte with Soloists (Messiah), Charlotte Symphony (Messiah), Intermountain Opera; Micaëla in both La Tragédie Tucson Symphony Orchestra (Mahler’s Third de Carmen with Syracuse Opera and in Carmen with Symphony), Chorus Pro Musica (Stravinsky’s Les Baltimore Concert Opera; the Countess in Annapolis Noces), Music Worcester (Beethoven’s Ninth Opera’s production of Le nozze di Figaro; and the Symphony), L’academie (Vivaldi’s Nisi Dominus), title role of Thaïs at Opera Company of Middlebury. Back Bay Chorale (Bach Magnificat), the Brookline In the winter of 2016, she returned to one of Symphony (Sea Pictures), the Boston Early Music her signature roles, Micaëla, in the Maryland Festival Fringe, and the Chorus of Westerly (Dvorˇák Symphony Orchestra’s presentation of Carmen, and Stabat Mater), and she is often featured on the Music was later presented in her role debut as Fidelia in at Marsh Bach Cantata Series. Awards include Puccini’s masterpiece Edgar with the Baltimore the prestigious Adams Fellowship at the Carmel Concert Opera. Bach Festival (2013), the American Prize in the About the Artists continued

Oratorio and Art Song divisions (2013), and second Charles Blandy tenor, has been praised as “a place in the New England Regional NATSAA versatile tenor with agility, endless breath and competition (2014). vigorous high notes” (Goldberg Early Music Magazine), and “breathtaking” and “unfailingly, Marvosh’s contributions to 21st-century repertoire tirelessly lyrical” by the Boston Globe. and performance include world premiere performances with Juventas New Music and the In 2017, Blandy sang the role of Evangelist in Bach’s Manchester Summer Chamber Music Festival; and St. Matthew Passion with Emmanuel Music. He in 2013, she created the roles of Viviane and the regularly appears in Emmanuel’s ongoing Bach Mother in the world premiere of Hugo Kauder’s Cantata series. He appeared with Music of the Merlin with the Hugo Kauder Society. She is a Baroque in Mozart’s C-minor Mass; with the Apollo founding member of the Lorelei Ensemble, which Chorus of Chicago in Bach’s B-minor Mass; and with promotes innovative new music for women. With Orchestra Iowa, again in the B-minor Mass. Lorelei, she has enjoyed collaborations with composer David Lang, the Boston Modern In recent years, he has sung Handel’s Messiah with Orchestra Project and the Boston Symphony the Saint Paul Chamber Orchestra, Portland Baroque Orchestra. Of a recent Lorelei performance, one Orchestra and American Bach Soloists. With critic wrote, “Marvosh, whose stage presence was a Emmanuel Music, he has also appeared in John joy to behold, offered a tone that had the velvety Harbison’s The Great Gatsby; and he sang leading soulfulness of a cello…and lent a refreshing pious roles in Stravinsky’s Rake’s Progress, Mozart’s solemnity to this more joyful of Mass texts.” Abduction from the Seraglio and Magic Flute, and Handel’s Ariodante. He has appeared with the A frequent recitalist and proud native of Michigan, American Classical Orchestra, Rhode Island Marvosh has created a chamber recital that Philharmonic, Bach Choir of Bethlehem, Handel and celebrates the history and culture of her home state. Haydn Society, Boston Baroque, Exsultemus and the The Michigan Recital Project features commissions Charlotte Symphony. by emerging composers and performances by fellow Michiganders. The recital, for which she won a In the field of contemporary music, this season he St. Botolph Club Foundation Emerging Artist Award, sings Ronald Perera’s Cycle Crossing the Meridian has ongoing performances across the country. with Boston Musica Viva. He premiered Rodney Lister’s chamber song cycle Friendly Fire, appeared Ensemble appearances in the past and upcoming in Ricardo Zohn-Muldoon’s Comala, and gave the seasons include the Oregon Bach Festival under the US premiere of Rautavaara’s cycle to poems of Rilke, direction of Helmuth Rilling, the Bachakademie Die Liebenden. Stuttgart, Portland Baroque Orchestra, True Concord Voices and Orchestra, Boston Camerata, He studied at Tanglewood, Indiana University, and the Skylark Chamber Ensemble, the Yale Choral Oberlin College. He is originally from Troy, New Artists and Cambridge Concentus. Marvosh can be York. heard on two recent Gammy-nominated recordings: Brahms’s Ein Deutsches Requiem with Seraphic Fire, Justin Hopkins bass-baritone, is a young performer and Prayers and Remembrances with True Concord in increasing demand nationally and internationally. Voices and Orchestra. She holds degrees from Hailed by Mark Swed of the Los Angeles Times for Central Michigan University and Boston University. his “stirring voice and commanding presence,” he About the Artists continued has been featured in such concert halls and theaters Society has grown considerably in size and in the as Carnegie Hall, Symphony Hall, Boston, Queen scope of its programming. Today comprising 100 Elizabeth Hall (London) and Théâtre Royal de la members drawn from the Dartmouth student body, Monnaie (Brussels). This season, he will perform faculty and staff and the Upper Valley community, Brahms’ Ein Deutsches Requiem with the Los the Society performs two concerts a year of major Angeles Master Chorale at Walt Disney Hall, Los works both old and new. Angeles; and Oroveso in Bellini’s Norma with Opera Southwest; and will be the featured soloist with For more information about the Handel Society, Philly POPS for A Philly POPS Christmas. Last season, call 603.646.3414 or visit our website at he made his Los Angeles debut with the Los Angeles handelsociety.org. Chamber Orchestra in Beethoven’s Symphony No. 9, as well as critically acclaimed performances of Robert Duff conductor is the artistic director of the Kurt Weill’s Lost In The Stars. He also made his Handel Society of Dartmouth College and is German debut with the Leipzig Radio Symphony Associate Professor of the Practice of Choral Music Orchestra in Kurt Weill’s Die Verheissung. A favorite at Brandeis University. At Brandeis University, he guest of the Boston Pops, Hopkins has sung over 40 oversees the vocal program, conducts the Brandeis performances with the famed orchestra. He was choral ensembles and teaches conducting. He has featured nationally on PBS in their 2016 broadcast, served on the faculties of Pomona College, Happy Holidays With The Boston Pops. Hopkins has Claremont Graduate University and Mount St. performed operatic roles ranging from Mozart to Mary’s College. He holds degrees in conducting, Philip Glass, as well as concert repertoire including piano and voice from the University of Massachusetts Britten’s War Requiem and Mendelssohn’s Elijah. He at Amherst, Temple University and the University of has performed under the distinguished batons of Southern California. conductors such as Charles Dutoit, Valery Gergiev, Jeffrey Kahane and Keith Lockhart with An active commissioner of new music, Duff has orchestras including the Philadelphia Orchestra, given several world premieres of works for both BBC Concert Orchestra, Verbier Festival orchestras orchestral and choral forces. He served as Council to and the Boston Pops. He took second place in the the New Hampshire Council on the Arts, and is the 2012 Lotte Lenya Competition. Past President of the Eastern Division of the American Choral Directors Association. Handel Society of Dartmouth College is the oldest student, faculty, staff and community organization Erma Mellinger vocal coach has been a principal in the United States devoted to the performance of artist with many opera companies across the United choral-orchestral major works. The Society was States, including the Cleveland Opera, the Florida founded in 1807 by Dartmouth faculty and students Grand Opera, the Dallas Opera, the Sarasota Opera, to “promote the cause of true and genuine sacred the Chautauqua Opera, the Fresno International music.” Led by John Hubbard, Dartmouth Professor Grand Opera, Opera North, the Pittsburgh Opera of Mathematics and Philosophy, the Society sought Theater and the Shreveport Opera. Her roles, in to advance the works of Baroque masters through over thirty operas, include: Cherubino in Le Nozze di performance. Members of the Society believed the Figaro, Dorabella in Così fan tutte, Donna Elvira in grand choruses of Don Giovanni, Idamante in Idomeneo, Empress exemplified their goals and thus adopted his name Ottavia in L’incoronazione di Poppea, Nicklausse in for their group. Since its inception, the Handel Les contes d’Hoffmann, Preziosilla in La Forza del About the Artists continued

Destino, Prince Orlofsky in Die Fledermaus, Prince studied classical piano at the Conservatory in Zwolle, Charming in Cendrillon, Martha in Faust, Tisbe in La The Netherlands, with Rudy de Heus, earning her Cenerentola and Berta in Il barbiere di Siviglia. degrees Docerend and Uitvoerend Musicus (Bachelor and Masters as Performing Artist) for Hailed for her “rich, vibrant, creamy voice,” soloist, chamber music and art song accompaniment. Mellinger is also at home on the concert and recital She later studied art song accompaniment at the stage. She has appeared as soloist with many major Sweelinck Conservatory in Amsterdam as a duo with orchestras, including the Fort Wayne Philharmonic, German tenor Immo Schröder. She has often been the Monterey Symphony, the Rochester Philharmonic invited to serve as collaborative artist at Orchestra, the Florida Symphony Orchestra, the conservatories and national and international Westfield Symphony, the New Hampshire competitions. At age 21, Spoelstra was first-prize Philharmonic Orchestra and the Vermont Symphony winner for best accompanist at the Dutch National Orchestra. She has given solo recitals sponsored competition Young Music Talent Nederland and was by the Buffalo Opera, the Adirondack Ensemble, praised for her touch and coloring. In 1997 she was Chamber Works at Dartmouth College and first-prize winner for Music Student of the Year for Classicopia. her final recital. The jury report wrote, “She shows great intellect in music pedagogy and is a sensible, Mellinger graduated first in her class from great performer, with well-balanced programs.” In Northwestern University, where she received her 2001 she was a finalist in Paris at the international Bachelor of Music Degree in Vocal Performance. She Nadia and Lili Boulanger competition. Since January earned her Master of Music Degree from Eastman 2004, she has been a US resident living in Vermont. School of Music, where she also received honors in She performs solo, teaches piano at her studio, and performance and teaching. She is a frequent guest coaches vocalists and instrumentalists for auditions, artist on the Dartmouth campus performing competitions and performance. Spoelstra has regularly with the Handel Society, the Wind served as accompanist for the chorale at St. Symphony and the Dartmouth Symphony Michael’s College, where she also taught piano and Orchestra. She began teaching voice at Dartmouth coached vocalists, and has accompanied the in 1996. Vermont Youth Orchestra Choruses and the Thetford Chamber Singers. She has performed concerts in Annemieke McLane collaborative pianist was the Netherlands, Belgium, Germany, France, Italy, born in Kampen, The Netherlands, and started Austria, Switzerland, Poland and the US. piano lessons with Joke Venhuizen at age seven. She Handel Society of Dartmouth College

Robert Duff, conductor Erma Mellinger, vocal coach Annemieke McLane, collaborative pianist Tara Gallagher ’19, student manager

Soprano Alto Tenor Bass Shoshana Belisle Emma Ambrogi Gary E. Barton Jonathan Alter ‘21 Alice Bennett Carissa Aoki Brian Clancy † John Archer Eugenia Braasch Carol Barr Michael Cˇ ukan Kenneth Bauer Kate Caldwell* Jennifer Bodenweber Scot Drysdale William Braasch Susan Cancio-Bello † Andrea N. Brown Jon Felde Stephen Campbell Leah Casey ‘21 Jinqi Chen ‘21 Lucas James ‘21 David C. Clark Sara Chari Kathy Christie* Jamie King Tucker Evans ‘19 Coco Chu ‘21 Helen Clark Joel Lazar Robert Fogg Meg Darrow Williams Alicia Dale Aaron Samuels ‘20 Charles Freeman Laura Elliott Johanna Evans ‘10* David Thron Thom Healy Karen Endicott Anne Felde Richard Waddell* Henry Higgs Marietta Formanek Linda L. Fowler Adam Weinstein ‘98* Rob Howe Lydia Freehafer ‘18 Ridie Wilson Ghezzi Steven King Tara Gallagher ‘19* Jill Heaps Rich Kramer Rebekah Guevara GR Nicole Johnson † Daniel Meerson Mikilena Hall Jennifer Karr David T. Robinson Julianne J. Harden Mary MacVey Erland Schulson Mardy High Cathleen E. Morrow Jack Van Hoff* Kendall Hoyt Rosemary Orgren Allan Wieman † Xanthe Kraft GR Isabella Pesavento ‘20 Stephanie Lewia Bonnie Robinson Katie Price Jo Shute* Mary Quinton-Barry Jacqueline Smith Katie Kalata Rusch* Katharine Strong Heidi Ruth Elisebeth Sullivan* Rebekah Schweitzer Averill Tinker Camilla Tassi GR* Rose Webster Gretchen Twork Julia Waswo Valerie Wiersma Sandra Wiese Sophie Wohltjen

GR=Graduate Student *Member, Board of Directors † Section leader Lebanon High School Lebanon, New Hampshire Jonathan Verge, conductor Victoria Nooe, collaborative pianist

Soprano Alto Tenor Bass Emilee Duplin Jill Anderson Jonathan Brennan Zachariah Herndon Audrey Elder Emily Cheevers Ryan Hart Alexander Hill Hannah Falcone Emma Doyle Keenan Leuthauser Logan LaJoie Fiona Greenough Ella Falcone William Tanski Noel Vorachak Anna Hill Sophia Kiernan Sabrina Lawrence Audrey Lytle Emma Nichols Sneha Magadi

Stevens High School Claremont, New Hampshire Katja Kleyensteuber, conductor

Soprano Alto Hannah Lee Mercedes Allain Chelsea Melna Taylor Baldwin Adelyn Nelson Lexie Grenier Alex Perez Sam Hagar Sarah Ruest Autumn Stickney

Woodstock Union High School Woodstock, Vermont Lisa Robar, conductor

Soprano Alto Skylee Gadapee Eve Cole Max Hambsch Antonio Lopez Laura Niez Abigail Merseal Angel Smith Madison Niez Etta Warren Natasha Springer Hayden Taylor Cerridwynn Wimett Orchestra

Flute Trumpet Violin II David Ordovsky Chris Scanlon, principal Leah Zelnick, principal Adam Gautille Nivedita Sarneth Oboe Horn Marcio Candido Margaret Herlehy Mike Lombardi, principal Marcia Lehninger Patrick Kennelly Bozena O’Brien Clarinet Jessica Helie Matthew Marsit, principal Timpani Marguerite Levin Jeremy Levine Viola Noralee Walker, principal Bassoon Violin I Jason Fisher Becky Eldredge, principal Angelia Cho, concertmaster Elizabeth Reid Rachel Juszucak Jane Kittredge Leslie Sonder Sean Larkin Trombone Jessica Amidon Cello Robert Hoveland, principal Kay Rooney-Matthews John Dunlop, principal Kristoffer Danielsen Louisa Stonehill Nelly Rocha

Bass Trombone Bass Travis Dobson Dan Gorn, principal Paul Horak

Organ Gregory Hayes Acknowledgments

Many thanks are extended to the Board of Directors of the Handel Society and the numerous members-at-large of the organization, community and student, for their fine work on behalf of the Handel Society.

We thank the Choral Arts Foundation of the Upper Valley and the Friends of the Handel Society (Dartmouth College alumni, past and present community Handel Society members, and regional audience supporters of the Handel Society) for the financial support of the Handel Society’s concert season.

In addition, we offer our warmest thanks to Hilary Pridgen of The Trumbull House Bed & Breakfast for providing accommodations for guest soloists. The Trumbull Bed & Breakfast, 40 Etna Road, Hanover, NH 03755; phone 603.643.2370 or toll-free 800.651.5141; web: trumbullhouse.com.

If you would like more information about the Choral Arts Foundation of the Upper Valley please send a request, with your name and address, to:

Choral Arts Foundation of the Upper Valley, P.O. Box 716, Hanover, NH 03755 [email protected] Upcoming Events

Musicians from Marlboro Wed • Jan 24 • 7 pm Stellar quintet from one of the world’s great musical festivals plays Beethoven, Brahms and more.

Inon Barnatan, piano Wed • Apr 25 • 7 pm “Poet of the keyboard” delights with inventive program of musical moments.

For tickets or more info, call the Box Office at 603.646.2422 or visit hop.dartmouth.edu. Share your experiences! #HopkinsCenter

Hopkins Center Directorate Mary Lou Aleskie, Howard L. Gilman ‘44 Director Jay Cary ‘68, T’71, Business and Administrative Officer Joshua Price Kol ‘93, Managing Director/Executive Producer Margaret Lawrence, Director of Programming Sydney Stowe, Acting Director of Hopkins Center Film

Hopkins Center Board of Overseers Austin M. Beutner ’82, P’19 Kelly Fowler Hunter ’83, T’88, P’13, P’15, P’19 Anne Fleischli Blackburn ’91 Robert H. Manegold ’75, P’02, P’06 Kenneth L. Burns H’93 Michael A. Marriott ’84, P’18 Barbara J. Couch Nini Meyer Allan H. Glick ’60, T’61, P’88, GP’19 Laurel J. Richie ’81, Trustee Representative Barry Grove ’73 Jennifer A. Williams ’85 Caroline Diamond Harrison ’86, P’16, P’18, Chair

Please turn off your cell If you do not wish to keep your playbill, please Assistive Listening Devices DAARRTMTOMUTOHUTH phone inside the theater. RECYCLES discard it in the recycling bin provided in the lobby. available in the lobby. RECYCLES R Thank you.